Details & Cataloguing
Jacques Grange | Collectionneur
|
Paris
Paris
Joan Miró
1893 - 1983
DISQUE, 1956
ceramic
Signed Miró and ARTIGAS on the reverse
Diameter: 36,5 cm; 14 3/8 in.
Read Condition Report
Read Condition Report
Signed Miró and ARTIGAS on the reverse
Diameter: 36,5 cm; 14 3/8 in.
Provenance
Galerie Maeght, Paris
Perls Galleries, New York
Private collection, Europe
Collection Jacques Grange, Paris (acquired from the above in 2012)
Perls Galleries, New York
Private collection, Europe
Collection Jacques Grange, Paris (acquired from the above in 2012)
Literature
Yves Bonnefoy, Miró, Paris, 1964, no. 63, illustrated n. p.
José Pierre, José Corredor-Matheos, Céramiques de Miró et Artigas, Paris, 1974, no. 201, illustrated p. 218
Francesc Miralles, Llorens Artigas, Barcelona, 1992, no. 655, illustrated p. 277
Walter Erben, Joan Miró 1893-1983, L'homme et son œuvre, Cologne, 1993, illustrated p. 143.
Doménec Ribot Marti, Miró, Barcelona, 2000, illustrated p. 61
Joan Punyet Miró, Joan Gardy Artigas, Joan Miró, Josep Llorens Artigas, Ceramics. Catalogue raisonné 1941-1981, Paris, 2007, no. 221, illustrated p. 191
José Pierre, José Corredor-Matheos, Céramiques de Miró et Artigas, Paris, 1974, no. 201, illustrated p. 218
Francesc Miralles, Llorens Artigas, Barcelona, 1992, no. 655, illustrated p. 277
Walter Erben, Joan Miró 1893-1983, L'homme et son œuvre, Cologne, 1993, illustrated p. 143.
Doménec Ribot Marti, Miró, Barcelona, 2000, illustrated p. 61
Joan Punyet Miró, Joan Gardy Artigas, Joan Miró, Josep Llorens Artigas, Ceramics. Catalogue raisonné 1941-1981, Paris, 2007, no. 221, illustrated p. 191
Catalogue Note
This work is unique.
Joan Miró and Josep Llorens Artigas met in Barcelona in about 1912. However their collaboration did not begin until after the Second World War. At this time, Miró began to distance himself from Surrealism. After the more or less risky and limiting adventures of the Surrealist period, Miró returned to nature and discovered the new medium of ceramics to express his creative freedom. Artigas was of renowned reputation and chose to work with the "grand feu" technique, a traditional and ancestral technique of heating colours which produces a reduced chromatic range of five colours. Painted on ceramic, in primary tones on a primordial form, it is such a joy to see the reds, blues, yellows, browns and blacks combine in Miró's palette! From a plastic, chromatic and graphic point of view, a work of Disque's quality is a perfect example of the complicity between artist and artisan. Imagination, gesture and fire come together on the solar surface of the work, in a harmony that defies nature.
Joan Miró and Josep Llorens Artigas met in Barcelona in about 1912. However their collaboration did not begin until after the Second World War. At this time, Miró began to distance himself from Surrealism. After the more or less risky and limiting adventures of the Surrealist period, Miró returned to nature and discovered the new medium of ceramics to express his creative freedom. Artigas was of renowned reputation and chose to work with the "grand feu" technique, a traditional and ancestral technique of heating colours which produces a reduced chromatic range of five colours. Painted on ceramic, in primary tones on a primordial form, it is such a joy to see the reds, blues, yellows, browns and blacks combine in Miró's palette! From a plastic, chromatic and graphic point of view, a work of Disque's quality is a perfect example of the complicity between artist and artisan. Imagination, gesture and fire come together on the solar surface of the work, in a harmony that defies nature.
Suggested Lots
Jacques Grange | Collectionneur
|
Paris
Paris
